Ron

Thanks for the comments. Appreciated. I was told that this movement is "bleak." Another comment was that I used C too often as a tonic centre. That's probably true: I find it hard to stay away from the Cm7 chord; it has such a mellow restful sound.

I played the violin for several years; it is so engrained that I measure intervals by finger positions. Yes, the 2nd cadenza is particularly difficult, but, it is a concerto after all. Thanks for the comments.

Sorry, I am not familiar with Hartmann's work, though I just read the Wiki article and am intreged. I'll see what I can find of his. Thanks for the tip. Ron

I was not going for a feeling in this song. It is an intellectual exercise in exploring a simple theme. I do disagree: there are many points of resolution. The kind of music is somewhat old-fashioned as it harks back to the styles being explored in the late 19th, early-20th centuries. I've used tools such as artificial modes, polychords, quartal harmony, etc -- all well established techniques in tonally-centred music.

I haven't said we should "dismiss all development of music to this point;" I intended to say the opposite. I've just seen far too many people on the Internet who bought a notation package and assume that if they imitate Beethoven closely enough (even if they don't have a clue how he worked), they will be regarded as geniuses. I got my back up when I looked at the categories available to define my musical style and saw it was so limited. Too often people have told me they hate contemporary music because it is all dissonance--or some such nonsense. I think you might agree that I have a genuine talent, but I am never going to be performed. There are so many people clamouring for attention, whether they can write or not, that they drown out the rest of us. So, I'll just stay in my little community, write whatever I fancy, and maybe toss some out there on the web from time to time in case anyone else enjoys it. That's not defeatism--it's reality.

Thank you for your comments. Who are my influences? I am self-taught. I listen to very little other music except for that of a few of my peers (Alan Belkin, Michel Edward). I am completely disinterested in and annoyed by arguments about whether music should be tonal, atonal, or whatever; nor am I intersted at all in "historical" music (those trying to imitate masters from the past). Music is what it is: here and now. At this date in history we can chose from a huge variety of tools unavailable to prior generations. To dismiss a group of tools is to cut off one's arm (musically speaking). No it is not in sonata form; that forum has been pretty well worked to death. However, it is in three (connected) movements generally following the pattern of a "classical" concerto. The first few notes announce the central motif of the rising fourths with the semitone dropoffs (traditionally "sighs") setting up the conflicts between rising hopefulness and regret. It is the basis of the themes (for example, the Adagio © and Moderato piu mosso (D). Pretty much sums up my life. I guess you could call it "neo-romantic." Thanks for responding. Sorry to be difficult.

A violin concerto in traditional format. This is actually the first formal piece I wrote. Enjoy. A Violin Concerto

4th movement Woodwinds and Strings: A Sonata IV

3rd movement Woodwinds and Strings: A Sonata III

Contemporay tonal: second movement Woodwinds and Strings: A Sontata II

A sonata in four movements for strings and woodwinds. I write post-modern tonal music. I don't know why there's no such category. There's a lot more to contemporary music than the meager list of options offered here. BTW, I consider myself to be a rank beginner. Woodwinds and Strings: A Sonata I